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Critic and Robert
Critic and musicologist Robert Palmer said their endurance and relevance stems from being " rooted in traditional verities, in rhythm-and-blues and soul music " while " more ephemeral pop fashions have come and gone ".
Critic Robert Christgau gave the album a B +, saying that " I find it impossible to give this record an A because it is just too weird.
Critic Robert Trussell noted, " Little effort was made to hide the ( California ) mountains in the background.
Critic Robert Cantwell wrote in his unpublished memoir Twigs of Folly:
Letters to Robert Ross, Art Critic and Writer, together with extracts from his published articles.
Critic Robert Christgau was the " originator of the ' consumer guide ' approach to pop music reviews ", an approach to writing pop recording reviews that was designed to help consumers to decide whether to buy a new album.
" Critic Robert Christgau commented that " Anybody who thinks rock and roll is alive and well in the infinite variety of its garage-boy permutations had better figure out how these Hitler Youth rejects could crush the competition and quit simultaneously.
Anthony DiMaggio, “ Interview: Media Critic Robert McChesney ,” indy ( Bloomington-Normal, Ill .), Vol.
Brian Sarzynski, “ Thinking Outside the Vox ( Populi ): An Interview with Outspoken Media Critic Robert McChesney ,” mountainx. com, Vol.
Critic Robert Richardson suggests that the originality of La dolce vita lies in a new form of film narrative that mines " an aesthetic of disparity.
Critic Robert van Gelder called it " perhaps the most sentimental story that ever has achieved the dignity of a Borzoi imprint of publisher Knopf imprint.
Critic Robert Christgau of The Village Voice called her contribution " one of the most gorgeous ballads you've ever heard ".
" Critic Robert Christgau said that Young " was born to lumber, and Pearl Jam wasn't.
Critic Robert A.
Critic Robert Christgau called the album " A satire on, celebration of, and lament for the upper-middle classmates an Orange County liberal knows like he knows his neighbor's backyard ..."
Critic Robert Christgau also commented in a similar vein: " The difference is that Browne shouldn't be doing this ... he's a pop star who's stretching his audience and endangering his market share merely by making such a statement in 1986.
" Critic Robert Christgau commented that the best songs were the ones Browne did not write.
Critic Dennis Schwartz liked the film and acting in the drama and wrote, " A schematic film noir by Nicholas Ray ( They Live by Night ) that overcomes its artificial contrivances to become a touching psychological drama about despair and loneliness -- one of the best of this sort in the history of film noir ... Robert Ryan's fierce performance is superb, as he's able to convincingly assure us he has a real spiritual awakening ; while Lupino's gentle character acts to humanize the crime fighter, who has walked on the " dangerous ground " of the city and has never realized before that there could be any other kind of turf until meeting someone as profound and tolerant as Mary.
Critic Robert Shelton was under the impression that Self Portrait was intended as a serious release.
Critic Robert Koehler, writing in Variety magazine, also gave the gave the film a mixed review, writing, " The latest fashion, The Salton Sea strains past the breaking point to provide the old genre with new couture.
* Robert Holub ’ s Jurgen Habermas: Critic in the Public Sphere ( Tehran: Nay Press, 1996 ).
Critic Robert Weston also hailed the film and wrote, " Niagara is a good movie for noir fans who crave something a little different.
Critic Robert Christgau said of the record: " Beefheart's famous five-octave range and covert totalitarian structures have taken on a playful undertone, repulsive and engrossing and slapstick funny.
" Critic Robert Christgau graded the album as a B + though he felt that Beefheart's " much-bruited commercial bid turns out to have all the mass appeal of King of the Delta Blues Singers ".

Critic and described
Critic Alexander Woollcott wrote of Bogart's early work that he " is what is usually and mercifully described as inadequate.
Critic Lev Grossman described it as " a deeply unsettling existential horror story, a nightmare you'll never be sure you've woken up from.
Critic Simon Reynolds described this movement as " a rash of blurry, neo-psychedelic bands ".
Critic Stephen Thomas Erlewine has described Francis's writing as containing " bizarre, fragmented lyrics about space, religion, sex, mutilation, and pop culture ".
Critic John Sutherland ( 1989 ) described the work as " the most sensationally successful of all the sensation novels.
Critic Stephen Farber has described the film as " One of the most skillful and entertaining summaries of Marilyn's endlessly fascinating rise and fall.
Critic Louis Vauxcelles described the work with the phrase " Donatello parmi les fauves!
Critic Henry Sheehan described the film as a retelling of Peter Pan from the perspective of a Lost Boy ( Elliott ): E. T.
Critic and artist Roger Fry did something to restore it in the 1930s, when he described Lawrence as having a " consummate mastery over the means of artistic expression " with an " unerring hand and eye ".
Critic Billy Stevenson described the film as Moore's " most astonishing ", arguing that it represents an effort to conflate film-making and labor, and that " it's this fusion of film-making and work that allows Moore to fully convey the desecration of Flint without ever transforming it into a sublime or melancholy poverty-spectacle, thereby distancing himself from the retouristing of the town-as-simulacrum that occupies the last and most intriguing part of the film.
" Critic Giovanni Grazzini, reviewing for the Italian newspaper Corriere della Sera, described Fellini as " an artist at his peak " and the film as the work of a mature, more refined director whose “ autobiographical content shows greater insight into historical fact and the reality of a generation.
Critic David Shipman thought Novak's performance " little more than competent ", while David Thomson described it as " one of the major female performances in the cinema ".
Critic Ned Chaillett has described Sink the Belgrano !, a critical take on the Falklands War, which premiered at the Half Moon Theatre, in Stepney, on 2 September 1986, as " a diatribe in punk-Shakespearean verse "; and Berkoff himself described it as " even by my modest standards ... one of the best things I have done ".
Critic and poet Kenneth Rexroth described Ciardi as ".
Critic William Lawrence Schroeder described Holmes's prose style as " attractive " in that it " made no great demand on the attention of the reader.
As Conservative Health Critic, Fletcher described himself as a supporter of the Canada Health Act but also indicated a willingness to permit greater private-sector involvement.
NDP Justice Critic Joe Comartin argued that this change addressed the legitimate concerns of Canadians, while removing what he described as " the radical, extreme over-reaction " of the Conservatives.
Film Critic David Robinson described Linder's screen persona as " no grotesque: he was young, handsome, debonair, immaculate ... in silk hat, jock coat, cravat, spats, patent shoes, and swagger cane.
Critic Stephen Thomas Erlewine described the hair metal – leaning album as " unbearable ".
Critic Nathan Morley described " Accidents " as the band's masterpiece.
Critic Tzvetan Todorov described Bénichou ’ s special interest asthe thought of poets .” More generally, though, Paul Bénichou ’ s work contributed to the understanding of the creative writer's place in modernity, and illuminated the role of writers in legitimating the institutions and values of modern society.
Critic Marc Bernardin described the episode as Star Treks " smartest time-travel experiment " and a fan favorite.
" Critic Andre Meyer of CBS News thought the material on the album was " stronger " than on Charmbracelet, and described it as a move in Carey's long-term plan for pop domination, while giving off the " jittery R & B vibe that made Destiny's Child so potent.
Joe Bob Briggs, The Drive-In Movie Critic, described Wishman as, " The greatest female exploitation film director in history.

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